THE ARABIAN NIGHTS

A COMPANION

Matching The Arabian Nights' scope and enchantment with erudition and wit, Irwin (The Arabian Nightmare, 1987) explores its elusive kingdom of stories, delving into the vast work's textual genesis, cultural history, and literary legacy. The most influential book in the Western canon that does not actually belong to it, The Arabian Nights never enjoyed the same literary status in the East, and its origins have been made only murkier by its reception in Europe. Irwin begins with the translators who popularized the Nights and, along the way, bowdlerized and warped it, or even inserted their own episodes. Most famously, Aladdin, who has no Arabic version predating his appearance in 18th-century France, may well have been the creation of translator Antoine Galland, not of Scheherazade. Irwin wryly glosses these early translations, which distortedly mirror the original Eastern exoticism with the reflections of their age's prejudices and their translators' personal eccentricities (notably the lexical, racial, and sexual obsessions of the Victorian adventurer Sir Richard Burton). The earlier Arabic compilations are no more reliable, however—Irwin devotes a separate chapter to forerunners (conjectural or lost) over several centuries, from India to Persia and Egypt. In a quixotic effort to amass 1,001 actual tales, these medieval compilers would incorporate local legends and real settings, sometimes approaching souk storytellers as sources. Throughout, Irwin's scholarly acumen illuminates these myriad worlds of the Nights, whether the cityscapes of the Mamelukes, the urban rogues' gallery of thieves and bazaar magicians, or the marvels of jinn and clockwork birds. The longest chapter is a selected roster of its literary heirs, from nursery fables and gothic novels through Proust, Joyce, and Borges, to contemporaries like Salman Rushdie and John Barth. An enchanting dragoman and chaperon for sleepless nights with Scheherazade.

Pub Date: Sept. 1, 1994

ISBN: 0-713-99105-4

Page Count: 352

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 1994

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MOMOFUKU MILK BAR

With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.

In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.    

 

Pub Date: Oct. 25, 2011

ISBN: 978-0-307-72049-8

Page Count: 256

Publisher: Clarkson Potter

Review Posted Online: Jan. 13, 2012

Kirkus Reviews Issue: Oct. 15, 2011

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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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